Spoiler Alert: These essays are ideally to be read after viewing the respective films.

Monday, May 20, 2019

The Challenger Disaster

Roger Boisjoly was a booster rocket engineer at a NASA contractor, Morton Thiokol. Boisjoly blew the whistle both within the company and to NASA regarding the danger of the rubber in the o-rings, which seal the connections in the shuttle’s rockets, being insufficiently elastic in cold weather. Although The Challenger Disaster (2019) is not a documentary, the film’s narrative, which centers on Roger, or "Adam," is oriented to understanding why the Challenger space shuttle exploded after being launched on January 28, 1986. In other words, although some names are different and the conversations are not verbatim in the film, the factors that contributed to the actual explosion are presented. In fact, the film leans too much on technical details before the disaster and legal arguments afterwards without adequate entertaining elements to make the film enjoyable. However, the film's political function in informing a mass market of why part of the government-business system was broken is valuable. In fact, this mission demonstrates that the medium of motion pictures is capable of aiding in social, political, economic, and religious awareness and education, and thus development.

Although some individuals can rightly be blamed for the explosion, the problem extended to the relationship that NASA had with its contractors, the encroachment, based solely on power, of management both at NASA and Mortan Thiokol, over experts (i.e., the engineers) on a technical problem requiring expertise, and the internal culture at Mortan Thiokol. In general terms, the problem extended to business-government relations, managerial presumption, and the expedient profit motive in business. 


On the individual level, immaturity played a substantial role in the disaster. Throughout most of the film, Adam, the outspoken advocate of delaying the launch, is yelling either at his superiors at Mortan Thiokol or at the launch engineer at NASA. Adam’s harsh demeanor, a lawyer points out, partly explains why Adam’s warnings did not have sufficient traction especially within the company. In spite of being right about the explosion, Adam has very little credibility inside the company because of his immaturity. In other words, he does not play well with the other children and this impedes his technical credibility. Human nature being what it is, it is susceptible to the fallacy that immaturity undercuts technical expertise. To be sure, Adam was not the only problem-child at the company. Its in-house inspector, Frank, perpetually shouts at Adam from the time he warns that the shuttle could explode. At one point, Frank even lunges violently at Adam. Similarly, NASA's flight engineer's harsh tone and shouting on the conference call with Mortan Thiokol exacerbated the problem. Why so much anger? It clearly impedes a solution whereby nine astronauts would not have died. 

All the shouting also makes the film difficult to endure. The bland office settings also do nothing to make the film enticing to watch. Almost all of the scenes are set in drab offices and a conference room in which grey is the basic color. To the extent that the arguments over technical details, which dominate the film, and legal arguments are boring, they are not adequately countered by entertaining devices. For example, scant attention is given to Adam's family life, other than to show him strangely well-adapted as a family man. His pathology apparently only shows up at work. His wife is a cut-board figure of an adoring wife, which is also strange. In short, the film’s value to American society in explaining to a mass audience what went wrong both at NASA and it having private-sector contractors could have been greater were the film more entertaining. 

This is not to say that the extent of arguing, like that of the technical details and even the drabness do not contribute to the film's ability to explain why the disaster occurred. The incessant arguments give the audience a good dose of the role of pathology in the disaster. Also, the extent of technical details, even repeated throughout the film, help the audience to understand why the o-rings failed. Even the drabness of the offices give the viewers a sense of the company's finances, which in turn play a major role in why the company's managers overrule the engineers on economic grounds (over technical objections). 

As for the technical explanation of the disaster, the expected temperature on the Cape at launch the next morning was 30 degrees F. The shuttle’s o-rings, which the contractor put into the rockets to seal connection points, were made out of rubber, which is less elastic, and thus effective, as the temperature decreases. The company’s data, however, only went down to 53 degrees, the previous lowest temperature on a launch. Also, the lower the temperature, the more exhaust passes by the o-rings, causing erosion. This is enough for Adam, who repeatedly says, “It’s too cold to launch!” He put his findings in a memo, but not even the company’s inspection person, Frank, bothered to read it. “The shuttle is made up of millions of parts,” Frank shouts at Adam, adding “The o-ring is just one of them.”  Adam shouts back, “Cold rubber doesn’t work well!” Notably, Frank does not spend as much time reminding Adam that the company needs the contract as reminding Adam and the others that they need their jobs. So much for loyalty to the company; what really counts is the employees’ personal affairs.

Frank takes the matter to his boss, Kurt. He wants a launch-delay because time is needed to get boats out to retrieve the rockets when they fall into the ocean. Adam argues that the company’s recommendation to NASA should turn on an engineering reason rather than a company-specific economic one. In essentially dismissing the consensus of the engineers regarding the technical problems, Kurt, a manager, disagrees. “We might lose our rockets. Besides, the DOD pays NASA’s bills. If they don’t get what they paid for, DOD and NASA might replace us. It is an economic problem.” Relative to this problem, a higher manager will later say before giving NASA the go-ahead on the launch, the safety of the astronauts “is not our concern” even though the astronauts have been relying on NASA and the contractors.

In the film, the company’s organizational culture is highly dysfunctional. The company’s upper management is focused only on keeping its contract with NASA even though the result is far worse for the company. The management has allowed the company to become too financially dependent on NASA. As a result, the upper management lied to NASA, telling the flight engineer that the company would be fine with the launch as set. Faced with an enquiry by the presidential commission on the disaster, the company’s management claims that Adam was a malcontent employee wanting to cause trouble. The extent of lying is itself a red flag concerning the lack of business ethics in the company’s management.

The relationship between NASA and the contract is also a contributing cause of the disaster. This is evident from the conference call that includes NASA and the contractor the day before the launch. NASA’s flight engineer, who is openly hostile toward the contractor from the start, begins by pointing out that the contractor (Frank in particular) is at fault for having taking the temperature problem off the reports submitted to NASA.  The company is so dependent on its rocket contract with NASA that the employee tasked with keeping NASA informed has removed a potentially dangerous problem from NASA’s radar screen.

The lack of communication is compounded by the adversarial relationship. On the call, for instance, Adam and the flight engineer at NASA reach the point of shouting at each other. The engineer orders Adam to “quantify.” Adam replies, ”I can’t.” In public policy as in business, not everything can be given a number. Sometimes when one is given, it brings with it false accuracy. With data only going down to 53 degrees, Adam cannot put a number on the percentage risk. Furthermore, how high of a percentage risk that the o-rings will fail on launch at 30 degrees could the flight engineer accept? The flight engineer wants a number to protect himself. Just as the managers at the contractor don’t want to lose their jobs, neither does the flight engineer. Meanwhile, no one is looking out for the human beings who will blast off the next day.

 NASA cannot go against the contractor’s recommendation to stop the launch. The flight engineer knows this, so he puts pressure on the contractor’s managers, who capitulate because the company cannot lose the contract. In bending NASA’s policy by pushing for a reversal from the contractor—and by the company’s management overruling the engineers on an engineering problem—the flight engineer is reckless (even as he tries to protect himself by demanding quantification).

In response, the contractor’s managers huddle. “NASA might find another contractor if we recommend delaying launch,” one manager says. “NASA might lay off people.  15,000 jobs here are on the line; we need this contract.” The manager then says to the entire group, “We need to make a management decision.” One of the engineers then shouts, “We cannot guarantee a good seal!” The manager appeals to the personal financial interests of all the engineers in the room.  “Don’t you have a mortgage? Don’t you want your jobs?” Adam chimes in, “There are nine astronauts; their lives are in our hands. The manager coldly replies, “they know the risks; that’s not our concern.” This brings Adam to a rage, “How dare you play with human lives like that. . . . You won’t give these poor souls a chance so we can make a buck or two. . . . This is not a management decision.”  That manager ignores this point and tells NASA it’s a go.

The philosopher Kant’s ethical theory can be formulated in terms of treating other rational beings not just as means, but also as ends in themselves. The contractor’s managers treat the astronauts unethically because they are just a means to the company getting paid for its rockets. NASA’s flight engineer does the same thing.  NASA has already delayed the launch, and avoiding the embarrassment of delaying again, even by hours, is motivating the flight engineer at the expense of the astronauts. Both NASA and the contractor’s management have lost perspective with selfish, skewed priorities.

Sunday, May 19, 2019

Milton's Secret

On the surface, Milton's Secret (2016) is a story about a financially-stressed family getting a visit from grandpa, who brings something unusual with him (besides his tea). Because Donald Sutherland really liked the character,  he agreed to play Grandpa Howard. Grandpa has a secret, which he shares with his grandson, Milton. It fundamentally changes not only him, but also his parents. Howard brings Zen Buddhism and alchemy to his family.  That the fictional (narrative) film explains and relates the two and renders both so transparent for the audience says something about the potential of the medium itself to handle abstractions and relate them to life.


The first hint that Grandpa Howard is a bit different comes just after he arrives and is eating out with Milton and his parents, Jane and Bill. After Howard takes out his tea packet and makes his own tea at the table in the restaurant, Milton asks how the tea tastes. “It tastes like tranquility; it tastes like calm,” Howard replies. What follows in the rest of the film is how to achieve tranquility and calm without the tea. In providing his recipe, Grandpa Howard essentially raises Milton out of his childhood. “When I was a man, I put away childish things.” It’s from Corinthians 13,” Howard says to Milton on his friend Timmy now going by Tim. The reference is to spiritual adulthood, which in any religion is distinct from what most practitioners believe and practice. The Gnostics in ancient Egypt, some of whom were Christian, emphasized esoteric knowledge (i.e., knowledge that is known, or can be known, only to a few).  The film is most significant because it makes such knowledge transparent for a mass audience rather than just a few people. Indeed, for a film to concentrate on a higher level of understanding is itself significant.

In real life, people not willing to accept or able to comprehend esoteric knowledge tend to resist it and even treat it’s holders with passive or even active aggression. In the film, Bill is the skeptic. “You have to be skeptical of your skepticism,” Howard relies to Milton on Bill’s skepticism of Howard’s lifestyle.  It is not uncommon for skeptics of knowledge they themselves do not have to go after superficial differences, out of a deeper resentment. In fact, being oriented to superficialities or trifles is itself an obstacle to giving up childish things.

Howard’s esoteric knowledge begins as Milton is suffering from being bullied at school. His parents are also focused not on their son, but on their momentary financial hardship. What Howard says to Milton applies equally to his parents.  Your thoughts on your problem: “They are houseguests and they all go eventually.” Sitting outside with Grandpa Howard, Milton asks, “Why is my cat always happy, no wonder what?” Howard replies in a way that tells us the source of his knowledge.  “I have lived with many Zen masters. Each and every one of them was a cat. Contrary to humankind, cats can let go of whatever happened yesterday and don’t worry about tomorrow and next week; they’re just here. . . . I’m not in the future now, or in the past; I’m here in the present with you.” This is essentially the Buddhist notion of mindfulness.

The Buddhist monk Thich Nhat Hanh, who was banished from his native Vietnam for more than five decades, has been typically mentioned along with the Dalai Lama as “one of the two most influential Buddhist monks of the modern era.”[1] Hanh is particularly noted for having spread the concept of mindfulness around the world. Mindfulness is “a mental state achieved by focusing . . . awareness on the present moment.”[2] Through practice, people can “overcome their anger and negative emotions.”[3] When a person’s attention is entirely in the present, anger about the past and worrying about the future are eclipsed.

Practically speaking, being focused on the moment means less chance of getting distracted and having an accident. Interestingly, not having forgiven oneself for having hurt other people can also be a distraction that keeps one in the past rather than in the tranquility of the moment. Howard answers Milton on having had to kill people in war: “Taking a life, Milton, causing hurt to someone, steals a piece of you and then you have to try to find a way to forgive yourself for it. But you have to try because without forgiveness, the past determines who you are in the present.” It is not uncommon to find adults who grew up in abusive dysfunctional families to be caught up in the past out of resentment, which in the absence of apologies can be difficult to shed, when self-forgiveness instead may hold the key to being in the moment and finally losing the past.

In Buddhist thought, the self is not an entity. Hence a person can be thought of as whatever the person puts into himself or herself. Howard gives Milton an empty beaker as a birthday present.  At parent’s night, Milton speaks on the War Between the States.  “It’s the war we’re all in, Milton says. We argue so much, and hold grudges. “There was a civil war raging right inside of me. Then my grandfather came to visit and he told me how to end the war,” using a beaker. “Imagine that you are a beaker. Whatever you decide to put in it, that’s who you are. If you fill it with hate and fear, pour in your worries about past and future, you’re probably going to be miserable.” If you fill your beaker “with love and caring, miracles can happen. That’s the secret. We all can change. You just have to turn the empty space into gold. When you do that, the war is over. We are all alchemists.” Howard tells Milton afterward:  You had a beaker filled “with anger and fear, but then you added beauty and you added a little bit of mischief. That, my dear, Milton, is alchemy.” If the self itself is not an entity, then what we refer to as a person is whatever that person has put into “the beaker,” which in itself is empty as well as transparent. Referring back to Milton’s talk, moreover, Howard tells his young grandson that he can again let his heart make sense of what his mind couldn’t figure out. “No matter where you are, no matter who you’re with, you hold the secret.”



1. Richard C. Paddock, “After Half a Century, ‘An Apostle of Peace’ Goes Home to Vietnam,” The New York Times, May 17, 2019.
2. Ibid.
3. Ibid.